Musicology

Educational objectives

The course aims to provide knowledge and understanding of the methodological, critical and applicable aspects of the Discipline; it proposes geographical areas and sectorial perspectives in which related projects are activated; it shows the variability of fields of interest; it enables the student to master the specific topics in order to use them and apply them in other fields of study while using the correct specific language. With the acquired knowledge the student will be able to develop autonomous ability of connections with other disciplines in the various historical epochs and cultural contexts.

Educational objectives

Given for granted some basic and indispensable goals (knowledge and understanding in the field of studies; ability to apply knowledge and understanding; capability of critical analysis; ability to communicate about what has been learned; skills to undertake further studies with some autonomy), the course intends to attain the following specific objectives: improvement of critical approach and argumentative skills; knowledge of the main themes and texts through an analytical reading of the writings under scrutiny.

Educational objectives

The course aims to provide basic elements of the discipline; it enables the student to master the subjects in order to use it and apply it in other fields of study with the correct use of the specific technical language. With the acquired knowledge the student is able to develop autonomous ability of connections with other disciplines in the various historical-cultural epochs.

Educational objectives

GENERAL LEARNING OBJECTIVES: the course provides knowledge and methodological tools for music analysis, understood as an interpretative practice that brings together theoretical perspectives, historical and cultural contexts, and compositional and performance practices. It also aims to promote the conscious use of specialist terminology and the ability to apply analytical tools to the interpretation and critical discussion of musical works and phenomena.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the main methods of music analysis, their historical development, and their theoretical implications;
2) are able to apply analytical tools and methodologies to the study of works, repertories, and musical phenomena;
3) are able to interpret analytical findings critically and relate them to the relevant historical, cultural, and stylistic contexts;
4) are able to present and discuss the results of their analyses using appropriate terminology;
5) are able to use the tools acquired independently to investigate works, repertories, and interpretative issues in greater depth.

Educational objectives

GENERAL LEARNING OBJECTIVES: the course provides knowledge and methodological tools for the study of music for film and musical theatre in their historical, aesthetic, narrative, and production-related dimensions. It aims to develop an understanding of the role of music in film and musical theatre, in relation to images, editing, dramaturgy, genres, and historical and cultural contexts. Listening activities, guided viewings, and seminar work foster the acquisition of analytical skills and appropriate specialist terminology.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the main developments in music for film and musical theatre and with the narrative, dramaturgical, and expressive functions of music;
2) are able to analyse audiovisual sequences, identifying the relationships between music, image, editing, sound, words, and narrative construction;
3) are able to interpret the role of music critically in film and performance contexts, relating it to genres, poetics, production practices, and cultural models;
4) are able to present and discuss the results of their analyses using appropriate terminology;
5) are able to use the tools acquired independently to investigate repertories, case studies, and interpretative issues in greater depth.

Educational objectives

GENERAL LEARNING OBJECTIVES: through lectures and workshop activities, the course provides knowledge, critical tools, and analytical methodologies for the study of twentieth- and twenty-first-century music. By focusing on selected composers, works, genres, and trends, it aims to develop the ability to interpret contemporary repertories, situating their poetics and aesthetic perspectives within their contexts of production and reception. Particular attention is devoted to the relationships between musical research and the artistic, cultural, and social transformations of the contemporary world.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the main trends, poetics, and aesthetic perspectives of twentieth- and twenty-first-century music;
2) are able to apply critical tools and analytical methodologies to the study of musical works, repertories, and sources;
3) are able to interpret musical phenomena critically within their contexts of production, circulation, and reception;
4) are able to relate contemporary music to literature, theatre, the visual arts, politics, and society, presenting and discussing the results of their analyses using appropriate specialist terminology;
5) are able to use the tools acquired independently to investigate new repertories and interpretative issues in greater depth.

Educational objectives

GENERAL LEARNING OBJECTIVES: the course provides philological, analytical, and critical tools for the study of music from the sixteenth to the eighteenth century. Drawing on perspectives informed by Global History and historical ethnomusicology, it situates European musical production within networks of exchange with the Americas and Asia. The study of repertories and non-textual sources is combined with Digital Humanities methodologies and performance practices.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the main developments in musical languages, genres, and forms from the Renaissance to early Viennese Classicism, as well as with systems of notation, transmission, and production;
2) are able to apply analytical, philological, and historiographical methodologies to musical, textual, and iconographic sources, also using digital tools;
3) are able to interpret works and performance practices critically within their political, religious, social, gender, and intercultural contexts, adopting a perspective that is not exclusively European;
4) are able to present and discuss the results of their analyses and workshop projects rigorously;
5) are able to use the tools acquired independently to develop research projects on the repertories and musical practices of the period.

Educational objectives

GENERAL LEARNING OBJECTIVES: through lectures, workshop activities, and case studies, the course provides methodological and critical tools for investigating music history through material culture and non-textual sources, from the Renaissance to the present. It combines historical musicology with organology, musical iconography, sound archaeology, and Digital Humanities, with particular attention to mapping and network analysis.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the historical and technological transformations of musical instruments, acoustic spaces, and sound media in relation to their economic and social contexts;
2) are able to apply organological, iconographic, and archaeological methodologies to the study of sources, also using digital tools for data visualisation and analysis;
3) are able to interpret musical objects critically within their historical, anthropological, and social contexts and to address fragmentary sources and issues relating to the preservation of sound heritage;
4) are able to present and discuss the results of their analyses and digital projects rigorously;
5) are able to use the tools acquired independently to develop research on musical material culture.

Educational objectives

The course aims to provide a historical view of opera on disc and video. Dramatic content, production processes and public reception will be analysed

Educational objectives

GENERAL LEARNING OBJECTIVES: the course provides knowledge and methodological tools for music analysis, understood as an interpretative practice that brings together theoretical perspectives, historical and cultural contexts, and compositional and performance practices. It also aims to promote the conscious use of specialist terminology and the ability to apply analytical tools to the interpretation and critical discussion of musical works and phenomena.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the main methods of music analysis, their historical development, and their theoretical implications;
2) are able to apply analytical tools and methodologies to the study of works, repertories, and musical phenomena;
3) are able to interpret analytical findings critically and relate them to the relevant historical, cultural, and stylistic contexts;
4) are able to present and discuss the results of their analyses using appropriate terminology;
5) are able to use the tools acquired independently to investigate works, repertories, and interpretative issues in greater depth.

Educational objectives

GENERAL LEARNING OBJECTIVES: the course provides philological, analytical, and critical tools for the study of music from the sixteenth to the eighteenth century. Drawing on perspectives informed by Global History and historical ethnomusicology, it situates European musical production within networks of exchange with the Americas and Asia. The study of repertories and non-textual sources is combined with Digital Humanities methodologies and performance practices.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the main developments in musical languages, genres, and forms from the Renaissance to early Viennese Classicism, as well as with systems of notation, transmission, and production;
2) are able to apply analytical, philological, and historiographical methodologies to musical, textual, and iconographic sources, also using digital tools;
3) are able to interpret works and performance practices critically within their political, religious, social, gender, and intercultural contexts, adopting a perspective that is not exclusively European;
4) are able to present and discuss the results of their analyses and workshop projects rigorously;
5) are able to use the tools acquired independently to develop research projects on the repertories and musical practices of the period.

Educational objectives

GENERAL LEARNING OBJECTIVES: through lectures and workshop activities, the course provides knowledge, critical tools, and analytical methodologies for the study of twentieth- and twenty-first-century music. By focusing on selected composers, works, genres, and trends, it aims to develop the ability to interpret contemporary repertories, situating their poetics and aesthetic perspectives within their contexts of production and reception. Particular attention is devoted to the relationships between musical research and the artistic, cultural, and social transformations of the contemporary world.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the main trends, poetics, and aesthetic perspectives of twentieth- and twenty-first-century music;
2) are able to apply critical tools and analytical methodologies to the study of musical works, repertories, and sources;
3) are able to interpret musical phenomena critically within their contexts of production, circulation, and reception;
4) are able to relate contemporary music to literature, theatre, the visual arts, politics, and society, presenting and discussing the results of their analyses using appropriate specialist terminology;
5) are able to use the tools acquired independently to investigate new repertories and interpretative issues in greater depth.

Educational objectives

GENERAL LEARNING OBJECTIVES: the course provides knowledge and methodological tools for the study of music for film and musical theatre in their historical, aesthetic, narrative, and production-related dimensions. It aims to develop an understanding of the role of music in film and musical theatre, in relation to images, editing, dramaturgy, genres, and historical and cultural contexts. Listening activities, guided viewings, and seminar work foster the acquisition of analytical skills and appropriate specialist terminology.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the main developments in music for film and musical theatre and with the narrative, dramaturgical, and expressive functions of music;
2) are able to analyse audiovisual sequences, identifying the relationships between music, image, editing, sound, words, and narrative construction;
3) are able to interpret the role of music critically in film and performance contexts, relating it to genres, poetics, production practices, and cultural models;
4) are able to present and discuss the results of their analyses using appropriate terminology;
5) are able to use the tools acquired independently to investigate repertories, case studies, and interpretative issues in greater depth.

Educational objectives

GENERAL LEARNING OBJECTIVES: through lectures, workshop activities, and case studies, the course provides methodological and critical tools for investigating music history through material culture and non-textual sources, from the Renaissance to the present. It combines historical musicology with organology, musical iconography, sound archaeology, and Digital Humanities, with particular attention to mapping and network analysis.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the historical and technological transformations of musical instruments, acoustic spaces, and sound media in relation to their economic and social contexts;
2) are able to apply organological, iconographic, and archaeological methodologies to the study of sources, also using digital tools for data visualisation and analysis;
3) are able to interpret musical objects critically within their historical, anthropological, and social contexts and to address fragmentary sources and issues relating to the preservation of sound heritage;
4) are able to present and discuss the results of their analyses and digital projects rigorously;
5) are able to use the tools acquired independently to develop research on musical material culture.

Educational objectives

The course aims to provide a historical view of opera on disc and video. Dramatic content, production processes and public reception will be analysed

Educational objectives

GENERAL LEARNING OBJECTIVES: the course provides theoretical, historical, and ethnomusicological knowledge for the study of Asian musical traditions, with attention to theoretical and notational systems, instruments, performance practices, and cultural contexts. It explores processes of transformation, circulation, and hybridisation, combining critical analysis with musical practice in workshop settings.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the main musical traditions of Asia, their theoretical and notational systems, instruments, and historical and cultural contexts;
2) are able to apply musicological and ethnomusicological methodologies to the analysis of repertories, using listening, transcription, and comparative tools;
3) are able to interpret Asian musical traditions critically in relation to processes of continuity, transformation, heritagisation, globalisation, and hybridisation;
4) are able to present and discuss historical, ethnomusicological, and performance-based analyses using appropriate specialist terminology;
5) are able to use the tools acquired independently to develop research projects on the musics of Asia, integrating analysis and musical practice, including through workshop experience with Indonesian gamelan.

Educational objectives

GENERAL LEARNING OBJECTIVES: the course provides theoretical, historical, and methodological knowledge for the study of popular music and jazz from Western and global perspectives. It explores the development and circulation of genres and repertories, the main approaches of Popular Music Studies, and the transformations of the music industry and phonographic culture. Particular attention is devoted to the analysis of recorded sound, the voice, and processes of transcultural circulation.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the history of popular music and jazz, the main approaches of the discipline, and the transformations of the music industry and phonographic production;
2) are able to apply analytical tools to popular music and jazz repertories, with attention to form, timbre, and compositional and production processes;
3) are able to interpret repertories critically by relating musical practices, recording technologies, the cultural industries, and processes of global circulation;
4) are able to present and discuss historical and musicological analyses using appropriate specialist terminology;
5) are able to use the methodologies acquired independently to investigate repertories, phonographic practices, and transcultural phenomena.

Educational objectives

GENERAL LEARNING OBJECTIVES: the course explores the poetic and theatrical traditions of the medieval Romance world, with particular attention to the relationships between text, music, and performance. Through the analysis of texts and sources, it provides tools for understanding processes of transmission, production, performance, and reception, integrating philological-linguistic and music-historical perspectives. It also aims to situate literary phenomena within the European cultural context and to foster their critical interpretation.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the main issues in Romance philology relating to medieval poetic and theatrical traditions and to the relationships between text, music, and performance;
2) are able to apply philological analytical tools to texts and sources, interpreting their transmission, linguistic features, and connections with performance practices;
3) are able to assess critically the issues raised by the sources and to relate literary, linguistic, music-historical, and theatrical aspects;
4) are able to present and discuss the results of their analyses using appropriate specialist terminology;
5) are able to investigate themes and issues in the medieval Romance tradition independently, integrating different disciplinary perspectives.

Educational objectives

GENERAL LEARNING OBJECTIVES: the course provides theoretical knowledge and practical tools for the comparative study of the relationships between literature and music. The subjects examined include opera librettos and different forms of poetry intended for music, from troubadour lyric poetry and the madrigal to the singer-songwriter tradition. The course explores the relationship between melos and logos and the ways in which these two domains interact, developing rhetorical, stylistic, and literary-musical skills that are also useful for other courses, such as Musical Dramaturgy and Issues in Contemporary Literature.

SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the main forms and modes of interaction between literary texts and music;
2) are able to apply rhetorical, stylistic, and literary-musical analytical tools to texts and repertories from different periods;
3) are able to interpret the results of their analyses critically and relate them to the relevant historical and cultural contexts;
4) are able to present and discuss the results of their analyses using appropriate terminology;
5) are able to use the tools acquired independently to investigate texts, repertories, and interpretative issues in greater depth.

Educational objectives

GENERAL LEARNING OBJECTIVES: delivered through lectures, the course provides knowledge and methodological tools for the study of contemporary Italian literature. It explores twentieth-century works, authors, and trends, relating them to their historical and cultural contexts and to other art forms, particularly music. It also aims to promote the conscious use of specialist terminology and the ability to interpret literary texts critically.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the main developments in twentieth-century Italian literature and some of its most representative works;
2) are able to apply methodological and critical tools to textual analysis, with attention to formal, stylistic, and thematic aspects;
3) are able to place authors and works within their historical and cultural contexts and relate them to other artistic fields, particularly music;
4) are able to present and discuss the results of their analyses using appropriate terminology;
5) are able to use the tools acquired independently to investigate texts, authors, and interpretative issues in greater depth.

Educational objectives

GENERAL LEARNING OBJECTIVES: through lectures and seminar activities, the course provides knowledge and methodological tools for addressing issues related to sound and listening from the perspective of cultural relativism, in accordance with the approaches of demo-ethno-anthropological disciplines.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the main methodological approaches, critical issues, and fields of application of demo-ethno-anthropological disciplines, with particular reference to sound and listening;
2) are able to identify contexts and fields in which to develop demo-ethno-anthropological research;
3) are able to relate the knowledge acquired to other disciplinary fields, including history, literature, cinema, theatre, art, cultural heritage, medicine, economics, law, politics, and religion;
4) are able to use specialist terminology to formulate independent judgements and present the results of their analyses clearly;
5) are able to use the tools acquired independently to develop research projects on sound and listening.

Educational objectives

The course aims to provide basic elements of the discipline; it enables the student to master the subjects in order to use it and apply it in other fields of study with the correct use of the specific technical language. With the acquired knowledge the student is able to develop autonomous ability of connections with other disciplines in the various historical-cultural epochs.

Educational objectives

A) Students will know the scientific literature on the topics dealt with and will be able to comment on it critically;
B) they will be able to formulate linguistic hypotheses on the basis of the acquired analytical concepts and tools;
C) they will be able to integrate their new knowledge with the previous ones in order to face the theoretical and practical complexity of acquired concepts;
D) they also will manage to communicate knowledge entering in discussion with specialists of linguistic studies and non-specialists.
E) They will lastly be able to study self-managed or autonomous topics proposed during the course and will be encouraged to cultivate their own scientific interests independently.

Educational objectives

GENERAL LEARNING OBJECTIVES: the course introduces students to psychological, experimental, and cognitive approaches to the study of musicality. It provides basic knowledge of the scientific method, experimental psychology, and the most recent developments in research, promoting critical reasoning and experimental design skills based on the principle of falsifiability.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the foundations of general and experimental psychology and cognitive neuroscience, with particular attention to the processes involved in musical perception, learning, performance, and listening;
2) are able to describe the main mental, behavioural, neurobiological, and physiological processes involved in the production and perception of music and to apply this knowledge to new contexts and other fields of study;
3) are able to assess whether research questions can be investigated empirically and to reflect on the social and ethical responsibilities of research on musical cognition;
4) are familiar with the main areas and issues of research in the psychology of music and are able to communicate them clearly in multidisciplinary and non-specialist contexts; 5) are able to explore the most recent developments in the discipline independently through the reading and understanding of scientific articles.

Educational objectives

The course is meant for students already trained in history of Nineteenth- and Twentieth-Century Art and will deepen some historical and methodological aspects.

Educational objectives

The course deals with and deepens some themes of History of Art in the period between Renaissance and Baroque ages, with particular attention to Caravaggio's time and environment

Educational objectives

The course aims to provide the fundamental principles of screenwriting, applying them to a series of exercises to be carried out in class. The student will also be required to work on screenplays provided by the instructor to learn how to analyze narrative structure and dialogue construction. Finally, the student will be asked to engage with the productive and economic aspects of screenwriting.

Educational objectives

GENERAL LEARNING OBJECTIVES: the course provides theoretical and methodological tools for the design and conduct of ethnomusicological research. It explores some of the main issues in the discipline, with particular attention to fieldwork, the study of oral musical traditions, the analysis of sound and audiovisual sources, and the use of bibliographic, archival, and multimedia resources.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the main theoretical and methodological approaches to ethnomusicological research;
2) are able to formulate research questions, identify sources, and define appropriate methods of investigation;
3) are able to use fieldwork methods, sound and audiovisual documentation, transcription, and the analysis of musical practices;
4) are able to assess bibliographic, archival, sound, and audiovisual sources critically and present research findings using appropriate specialist terminology;
5) are able to develop an ethnomusicological research project independently.

Educational objectives

GENERAL LEARNING OBJECTIVES: the course provides theoretical, methodological, and practical knowledge for the design and conduct of musicological research. It explores music historiography and philology, the analysis and interpretation of sources, and the rigorous use of bibliographic and documentary resources. It also aims to develop the ability to apply the methods and tools of musicological inquiry in scholarly research, teaching, and the dissemination of musical culture.
SPECIFIC LEARNING OBJECTIVES: by the end of the course, students:
1) are familiar with the main methods and theoretical frameworks of musicological research;
2) are able to identify, analyse, and interpret musical, textual, and documentary sources, applying appropriate historiographical and philological tools;
3) are able to conduct bibliographic research, assess scholarly literature critically, and organise the materials collected;
4) are able to develop and present research findings clearly and rigorously, using appropriate specialist terminology;
5) are able to design an independent musicological research project and apply its methods and results in scholarly, educational, and public-facing contexts.